I do not tattoo every style. That is the point.

When someone writes to me, the first thing I explain is what I do exclusively. I do not work in every style. Not because I could not solve another tattoo, but because I chose to study one visual language deeply.

I ask your name, what you want to tattoo, whether you are living in Buenos Aires or travelling, and I explain how I work: three-hour sessions, a private studio in Olivos, and a design process built around the body.

If the way I work makes sense to you, I invite you to the studio for a first meeting. We talk for 30 or 40 minutes, drink Japanese tea, look at references, and think about the piece.

For travellers, this meeting can be planned around your dates in Buenos Aires. A large Japanese tattoo is not a quick purchase; it is a process that needs trust, timing and clarity.

The Japanese motif depends on what the person wants to represent. We do not simply pick a beautiful image and place it on the body. First we understand what has to be said; then we find which myth, figure, flower or background can carry that weight.

That is how a tattoo becomes more than an image. It becomes a piece with direction, structure and meaning.

With the main design prepared, part of the background is drawn by hand on the body in the first session. This is tegaki: drawing directly on skin to follow movement, volume and anatomy.

Clouds, water, rocks and wind need to breathe with the body. A stencil cannot decide everything.

For me, a Japanese tattoo should still read in 40 years. Time should not destroy the design; it should help it settle into the body.

That means strong composition, clear contrast, solid lines, and colors that can remain alive after years of skin, sun and life.